midway in my considerations about music I
came to myself in a dark wood for the straight
way was lost, if I may paraphrase Dante for my
forgot what I had been talking about with
respect to the development of music, but have
been wonderfully, and perhaps even karmically,
put back on track by this correspondingly
Evgeny Kissin had provided a resplendent
haven’t yet finished enjoying often, but
found among his other Internet offerings
at first I wondered about the Schubert/Liszt
connection in the written introduction to the
program, they’d been united by a forward
slash, implying that there’d been some kind
of cooperation, but I hadn’t ever heard of
those two ever meeting
upon very little investigation however I found
out that Liszt had merely transcribed of course
some of the Schubert lieder, something which
Liszt was wont to do, Liszt transcribed
everybody and everything, most famously all
of Beethoven’s symphonies, writing them
up for piano only, so that more remote areas
could also enjoy them, in often even there
aristocratic salon settings
lieder are songs in German, a lied, a song,
works Schubert produced in astonishingly
great number
Liszt was paraphrasing Schubert for his own
Lisztian purposes of course, artists do that,
which is to say he was giving them much
more Lisztian fanfare and, not unwelcome,
I might add, extravagance, Schubert could
be pretty dry, I think, in his lieder,
uncharacteristically, even his fun ones,
of celebrated German poets Schubert set for
accompanied voice, and that Lizst, and Kissin,
transform into something pretty special
next on the program Schubert takes independent
flight with his wondrous “Wanderer” Fantasy,
a fantasy is not a sonata for having only one
movement, but note this fantasy goes through
all the motions of a sonata, fast, slow, fast, each
with its own structural contrasts, but without
any of the intervening pauses
so is a fantasy just a sonata without breaks, or is
a sonata just a fantasy with hiatuses, had the
sonata become a fantasy, had the fantasy
become a sonata, definitions were being
upended, then again that’s what revolutions
are about
before Beethoven this had been unheard of,
when music hadn’t yet learned to actually talk,
mean something, Schubert, like Beethoven,
not only talks, not only narrates, as in for
but actually speculates, ponders, moves
metaphysically forward, in thrall to his
vagabond spirit much more than to his
wayward heart
hence, incidentally, the more abstract, less
geographical, “Wanderer”, to compare with
for instance Liszt’s more panoramic
a close contemporary counterpart of his
in art
music has become no longer merely narration
then but philosophy, it is finding its way like
the rest of us, and for the rest of us, to the
stars
Bach then intervenes here with a Siciliana, a
Baroque composer in Kissin’s Romantic
clothing, but the shoe entirely fits, and
hauntingly, you’ll remember Bach was
composing for the harpsichord, which
had none of the piano’s resonance
Brahms then returns us to a more abstruse
Romanticism, “7 Fantasies”, his opus 17,
pushes the limits of melodic continuity, you
can’t sing Brahms, you’re not even drawn to
seven fantasies in one opus, incidentally,
suggests a sonata with seven movements,
with all of the permutations that have been
suggested already for the fantasy I talked
about, it’s open season on sonatas, in
other words, and by extension their less
segmented fantasies
it is the history of art
the final piece is totally transcendent, some
incidental music from Glück, from his sublime
operas, Orpheus approaches the Underworld
in order to retrieve his beloved bride, we are
about to enter the Elysian Fields, the actual,
original Champs Élysées, or Elysium, with
him, the moment is unforgettable
others have led us into the Underworld, most
notably Homer in the “Odyssey“, Virgil in the
“Aeneid“, and of couse, somewhat more
Glück is the one whose hereafter you won’t
not remember
Richard
Richibi's Weblog 